Monday, January 30, 2012
Friday, January 27, 2012
OM.2011.213 - Katrien De Blauwer - BegiumPoetic Noise (2009-2011) Documents, photographs, leaves and other relics from the Republic of Georgia
Four collages each postcard sized work is roughly 4x6 inches
Four collages each postcard sized work is roughly 4x6 inches
Born in 1969 in Ronse, Belgium
Lives and works in Antwerp, Belgium
Monday, January 23, 2012
Saturday, January 21, 2012
|OM.2011.208 - Reed Altemus - USA - 'Recyclopedia V' from Encyclopedia Fluxanica - digital collage, 1/1 - giclee print - 11.75x12.75 framed|
|OM.2011.209 - Reed Altemus - USA - paper collage - 8.75x11.25 framed|
|OM.2011.207 - Margaret Suchland - USA - Lexicon 2011 - 4x6 (framed 11x14)|
materials used: vintage early 20th c. dictionary pages digitally printed with
early alphabet characters, misc. remnants from a discarded 18th c. Psalter and
|OM.2011.205 - Lucio Valerio Pini - Italy - collage on card stock - 15.75 x 11 inches|
|OM.2011.204 - Lucio Valerio Pini - Italy - collage on card stock - 15.75 x 11 inches|
|OM.2011.203 - Lucio Valerio Pini - Italy - collage on card stock - 15.75 x 11 inches|
I adore creating collages.
An old renewed art, which allows me to express myself with freedom, creativity and fantasy.
With obvious simplicity I put together cuts and scraps of my own or someone else's images.
I put some color spray here and there and fix dreams, memories and feelings on the paper.
The result is a fantastic world of signs, only apparently chaotic.
The unusual elements are superimposed, they mix and they meet to start unusual images.
I try to give body to a nonexistent reality, belonging to a fantastic and poetic world.
A caprice of forms which is seen not only with the eye but also with the imagination.
I try to give a world of emotion to the eyes of those who look upon them.
A game? Maybe or maybe not.
Lucio Valerio Pini
Friday, January 20, 2012
OM.2011.201 - Karlyn Atkinson Berg - “Lace Totem” - Collage on paper
I do not have a rigid or predetermined structure for the creation of a piece. A single color or shape or image may spark an entire composition. As I sort and work with materials, some will seem to connect individually or in groups creating an interaction in color, space and form. Each added element will build on the previous one by changing, adding, or even eliminating the other components. Knowing what to remove becomes as important as knowing what to add to the work. Whole sections may be chopped up and reassembled or even moved to another work. As the painting unfolds, images change. Realistic objects may no longer be recognizable on their own and will become only an element in the larger sensibility or visual impression. The intention of the work is a visual experience and, like the words of a poem or song, should leave you with an image and emotion.
|OM.2011.199 - Win Straube - USA -36 x 44.5 inches - digital print of a vintage stamp collage|
Assemblage, collage and constructive art as a genre is constantly evolving to reflect the changes and evolutions of our understanding of the art world at its time of creation. The evolution of these art forms is much like the evolution of physics: we begin with the simple, solid Newtonian rules, but through relativity and quantum dynamics find ourselves in chaos theory with the butterfly effect; transformations building on the simple, creating multi-faceted works which are totally new, more comprehensive, more dimensional renderings of objects and expressions.
The Ebu-Arts philosophy is that its works are not the sole presentation of individualistic themes or thoughts, but are the embodiment of value-enhancing relationships, in the form of individual pieces of precious value joining together, creating a “worth its weight in gold” communal body of its own distinct dimensions and scope. Ebu-Arts pieces, therefore, are fascinating and mind expanding to examine. Better yet for me, when I have the opportunity, I delight in the use of “strange attractors” in the creation of such pieces of art. “Strange” because their diversity is infinitely complex, and “attractors” because in their total they are always drawn toward the behavior represented within them. Spooky? I hope not! But truly entertaining and very informative, regardless whether passively enjoyed or actively created.
That is what my submission pieces of Ebu-Arts#1 and Ebu-Arts#2 represent: In this case mosaic assemblages of a carefully considered selection of valuable stamps, each one of which is a nationally chosen art rendering of a specific subject, yet here melded into one totality of ideas and expressions, realized in one powerful unique identity of its own. To be enjoyed as a contemporary whole. Yet like newly discovered fractals, the closer the examination, the more revealing. Have fun!
|OM.2011.199 - Win Straube - USA -digital print of a vintage stamp collage -an example of what the artist calls Ebullient Art|
Ebu-Arts is the combination of many precious value art pieces (maybe hundreds or more) into ONE major work of art with its own meaning. The final product is an Ebullient and Brilliant Universe of the Arts, very much like a country or the entire world seen from space is composed of many many individual valuable communities which may be quite different from each other, yet as a whole they form ONE unique home of its very own significance, appearing in stark, uplifting beauty.
Its philosophy is that Ebu-Arts works are not the sole presentation of individualistic themes or thoughts, whatever they may be, but are the embodiment of value-enhancing relationships, in the form of individual pieces of precious value joining together, creating a “worth its weight in gold” communal body of its own distinct dimensions and scope.
Thus Ebu-Arts is NOT, and in fact far removed from “recycled” or “upcycled art,” or “naive art” or “vernacular art” or “conceptual” or “neo-conceptual” art, but it could be “made by untrained artists” or could be just basic “fine art,” two dimensional as well as three-dimensional, as long as it is made of a multitude of innate high value fine art or historical pieces, which in their combination form an Ebullient and Brilliant Universe of the ARTS.
Title: “Uranian Alphabet”
dimensions: 13x 18 cm
materials: mixed media collage
STATEMENT:Collage is an ancient technique with an enormous expressive potential. It offers a lot of opportunities for experimentation with materials and invention of new realities. Cutting, tearing, layering, pasting, shifting and removing pieces, painting my own papers, looking for old images or working with asemic writing, I feel like an alchemist exploring the mystery or a “dirty nails” gardener planting seeds. Collage for me is freedom of expression, an endless creative research in a constant metamorphosis. A bright fragment of life.
Thursday, January 19, 2012
|Jessica Porterfield - USA - collage on canvas - 8x10 inches - Materials:|
primed canvas, acrylic paint, scrapbook paper, hand carved stamp image, gel medium
Never before in time have there been so many mediums to combine to express beauty or political statements or spiritual truth than currently. one can intermingle a polymer clay piece with a found object
or that perfect book page or scrap of altered paper and make something so essential.
Collage satisfies some deep itch since it marries so may other art forms together. The painting, the tactile tearing of paper, and fitting together disparate pieces of paper or found objects is deeply moving
and necessary to me.
Monday, January 16, 2012
|Above OM.2011.182-187 - Marianne Midelburg - Australia - 6 black and white 'vest' collages - 18 x 15.5 cm|
|Above OM.2011.188-189 - 2 color 'Vest' collages - 23.5 x 17.5 cm|
|OM.2011.190 - 'Strange Children' collage - 23.5 x 18.5 cm|
|OM.2011.191 collage titled 'Separate Vacations' - 26.5 x 19.7 cm|
OM.2011.182-191 - Marianne Midelburg is a textile artist living in Victoria, Australia
I've been making collages for a number of years. I started off very small, just making a few cards for friends. Then, several years ago I met a fellow artist, who introduced me to international mail art projects and my interest and experimentations with collage greatly increased. I thoroughly enjoy the art of gleaning, i.e. finding the materials with which I create my paper collages and my textile art works. The methodical and repetitive nature of creating themed collages gives me great pleasure. I often use humor and word play in my works. I regularly visit many of the charity shops and garage sales, as well as markets and the recycle tip-shops in Bendigo, where I find a wide variety of free or extremely cheap materials, which have collage potential. We live in such a throw-away society, which is great for the creative gleaner. (Aug. 2011)
OM.2011.180 - Joel Lambeth - Austalia - “The Everlasting Gobstopper” - collage on panel - 12x12 inchesI see making collage works, or more specifically photomontage pieces, as a tool for making some kind of sense of the world around me.
Regardless of the subject or situation that presents itself, whether it be political, social or personal in nature, it has become impossible to have all of the relevant information in order to see the issue from all perspectives. Perhaps it has always been impossible to achieve this. However, in the modern time, with all of the multiplicity of sources of information that are available, the ability to access all of the facts has become contradictorily increasingly difficult.
Collage allows me space to take fragments, each loaded with meanings and associations, and arrange them into a form that presents (to me, at least) some kind of logical order or rationalisation, and permits reflection on subjects from a multitude of often disparate standpoints.
This can be a meditative process. In a way, the elements that are being used in the collage take on the form of a mandala, and my ambition in making these works are to attain a balance of form and (perceived) meaning.
Friday, January 13, 2012
|OM.2011.176 - Cory Peeke - 2008 - 'Peeping Tom' - Mixed Media on paper - 8x8 inches - USA|
Good collage has always been about recycling and reinterpretation, using bits of detritus and ephemera that, like the power of certain scents, have the ability to elicit potent associations. When awakened these associations provide a connection through which to explore both our personal and cultural history as well as our place in each.
Cory W. Peeke
Wednesday, January 11, 2012
|OM.2011.166 - Ken Stalebread Coleman - France|
Untitled work #97
Actual size = 8 X 6.25 inches
Dated Dec. 2011
Various papers with watercolor, ink and colored pencil on Bristol board
Initials KMC in circle on back
I don’t have much of an artist’s statement. Mostly I construct, or try to construct pictures. I react to, and interact with, various materials, colors, images, textures, marks. Everything I see, smell, taste and touch informs everything that comes after. Inspiration is trumped by work over time and lots of trial-and-error. I try to make the pictures interesting or entertaining (“entertaining” is that artistic blasphemy?) for myself and maybe for a few others. Occasionally I succeed, often I fail. I keep at it.